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Next to the left-channel RCA input there's a silk screen indicating that 1V is max input voltage. To enjoy a wide range of level control we decided on the Devialet D-Premier as preamp. Here the max output was easily set to the recommended 1V via the Devialet Internet configurator, leaving a usefully wide volume range in its wake. Direct output from the PS Audio DAC should not be set so low that the converter does not run in its optimum range—50% and up—as resolution decimation sets in. With 24-bit source material that's less invasive but the combination was still less than optimal. Hence the Devialet. Speaking of optimum range, the SX-Eco is rated at 50wpc in SET mode.


But don’t get too thrilled over that power rating. Though the amplifier looks and is built as a power house, it's a very gentle giant. After warming up—and take that warm to heart—we played an all-time favorite. Astor Piazzolla and Osvaldo Pugliese's Finally Together, a live recording from the Carré theater in 1989's Amsterdam. This recording is one to be treasured. It not only contains beautiful tango music, the recording also captured all the accompanying passion and emotions of a very special and unique cooperation between the greatest tango artists of the day. A very good playback system will be capable of recreating these emotions by means of timing, timbre and dynamics. With the SX-Eco driving the Avantgarde horns there was that real SET feel about the music - not neutral but not overly colored either. The midrange rendition was fluid, slightly on the rich side and a bit rounded. No doubt the help of the powered woofers was a credit to recreating the foot stomps on the theater’s stage.



At the other side of the room the drop-shaped wide-baffled Vaessen Aquarius beckoned. With their 90dB sensitivity compared to the 107dB of the Avantgarde this meant the Kronzilla would have to work a bit harder. With a Devialet D-Premier as preamp the volume had to be upped to match the SPL intensity of the previous combo. While gradually priming the pump not only the SPL changed. At higher volumes the virtual image of the recording began to shrink. From an open and deep virtual soundstage the Kronzilla transformed into a shallower less gripping version at higher levels. Where the previous combination had oozed detail and tone, the same special attraction was now missing at equivalent SPL.


At the time of this review we also had a pair of Crystal Cable Arabesque Mini stand mounts in the house. Rated as roughly the same impedance load as the Aquarius, we gave the black comma-shaped 2-ways a try with the Kronzilla SX-Eco. Here we encountered the same as with the Vaessen. At modest levels lots of richness, detail and a realistic soundstage, the higher the volume the more all good things shrunk.


Did this mean only soft playing was possible? Not at all. With the non-horned speakers modest levels still equated to around 83dB at the listening seat. The flattening effect began at around 87dB on an iPad's SPL meter.


The fourth system we could use was built around the giant Arcadian Audio Pnoe horns. Rated at 100dB sensitivity and being a passive single-driver design, they fit between the semi-active Avantgarde and Vaessen. After wheeling the cooled down Kronzilla to the front of the room and connecting it once again we played the same tango recording. From all combination tried, this from the very first track was clearly the most satisfying. With a midrange beautifully open and full of detail, the treble was not as brash as the Avantgardes can sometimes get. Even in our unusually large space these large Grecian horns go remarkable low and won’t break up even at high volumes. Their high sensitivity kept the Kronzilla SX-Eco nicely in its comfort zone to spell SET in all its capital letter glory.

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